Storm’s new show, an unusual indoor solo effort on his part, consists of about a dozen works, mainly large scale portraits done in acrylic on canvas.

True to the show’s title, and in keeping with Black History Month’s vibe, Storm’s faces are primarily of men, all African-American, including baseball and musical greats like Jackie Robinson Jimi Hendrix, and Miles Davis, along with other faces presumably of regular, less recognizable folks. (Alas labels were absent when I visited.)

The music portraits are on the west wall of the wood-lined room. The baseball and Marilyn portraits on the east wall are, depending on the sunlight pouring in from the mullioned windows that surround them, a little hard to see.

Still, whether in shade or light, they’ve all got you in their field of vision, the gaze of Storm’s subjects’ eyes laser-ing in on the viewer through a palette of almost exclusively browns and blacks.

Except for the large profiled Miles Davis portrait (pictured). The trumpet seems to lean into the gallery, spewing the only bright color in the show, dabs of red and orange, like a synesthesiacal blast of musical notes, all those eyes are looking at you.

They make you feel uncomfortable, as if the gaze were saying, “What are you lookin’ at?!”

All of this feels quite right to me, in part because the gallery is sharing space with residents, who meander in and out of their now community room/art gallery. They are also watching TV on a big monitor in the only corner without art, and talking among themselves. This is no traditional gallery space. The talk is hushed and sometimes in whispers of urgency.

When I was there, residents—were they also viewers of the art?—were talking about meetings with caseworkers and issues pertaining to Section 8 housing; the newly renovated apartments are priced for low-income working people and those in transition.

The works on the wall, depending on where you happen to be in life, could be seen gazes of recognition, challenge, anomie, depression, anger, or lostness.

Resident Eric Aranjo was sitting at a window table near the Marilyn Monroe portrait and gazing both in and out. “I really enjoy it ,” he said of the exhibition. “I like all of them.”

Click here for Kobasa’s recent review of Yale-trained artist Chuck Close. In size and eye-gripping intensity, if not in intention, Close’s portraits and Storm’s have more in common than, well, meets the eye.

With the light and high ceilings, Kobasa suggested, the Gallery Howe space might be more suitable for three-dimensional art.

That may be so for the occasional visitor.

Yet for those who live above and around this space or who talk to their caseworkers beneath a portrait of, say, Satchel Paige, Storm’s scale and choice of subjects may be just right. There’s comfort in recognizing their faces, still simmering or seducing even after death. Along with that there’s another humbling message: that the paths even of of those who achieve fame and glory do indeed lead to the same grave as those who pass through life unknown.

An additional, more immediate message come through from beyond: “You. Yeah, you! Time to get on with your life.”

The brochure for Gallery Howe calls this show and those to follow “a cooperative venture between neighborhood artists and the fine residents and management of West Village Apartments. The goal is simple: Bring art to the people, and let’s see what happens.”

Post a Comment

Comments

posted by: HewNaven on February 13, 2014 12:09pm

Yes! Love Katro’s art.

posted by: davecoon on February 13, 2014 1:32pm

The term “Outsider Art” is offensive in general and in particular to Katro’s status as an artist. Whomever titled this article should offer an explanation why Katro is deemed an ‘outsider’ to the art world. Also, consider retracting the title with an apology to Storm.

I wonder whether the headline writer meant ‘Outside’ artist, given that so much of Katro’s work is on walls around town. It seems unlikely that any offense or slight was intended but I was glad to see the headline changed.

On a more important note, congratulations to Katro. I very much enjoyed the opening and the show was fantastic.

posted by: Paul Bass on February 14, 2014 11:13am

Yes, we were ignorant of the term of art “Outsider Art.” We were trying to make a play on Storm’s recognizable outdoor art. I apologize for not knowing that and for any insult (unintended!) to his work.

posted by: Dpalmer on February 18, 2014 9:53am

I’m very disappointed in this article beyond the title but let me start there. This is the SECOND article using the term ” outsider” in connection to Katro. It is very clear that this newspaper knows very little about the term and its offensensiveness to contemporary artists. To loosely throw it around, its saddening, because it shows that you do not appreciate Katro and his contributions not only to the art world but to his community. It’s sickening and saddening for any artist to work extremely hard to create work, share his work and be critiqued about his work and the only word you wonderful writers can use is outsider? Stop using the term, stop down playing what he does with the term outsider.

Bringing art outside, in Creating access with art Containing art with four walls Art from outside, has a new home Art brought inside No traditional gallery space A shared space Residents welcome art Art, Indoors or out? Creating new space Creating literacy through local heroes Familiar faces create access The comfort in art Katro Storm shifting Paradigms Bringing arts to people